Social theory in the curatorial method, especially in the context of the trend towards digital platforms and interactions.
Social theory in the curatorial method, especially in the context of the trend towards digital platforms and interactions. The work in this show is no exception: In fact, the curators have made a point of including works by artists who have been deeply influenced by technology, and the result is an impressive show of talent. But it is the artists who show the most promise in their use of digital technologies. The most prominent example is the work of Jaume Böttcher, whose Aural Obsession, 1998, is a kind of electronic dream: A video loop shows the artist reading a poem, which he repeats over and over again. This loop is translated into a sound track, which is played as a sequence of images. The repetition of the poem and the images, combined with the repetitive reading, makes for a kind of dream, a kind of dream dance. In the exhibition catalogue, the curators describe Böttchers work as a kind of dream, but it doesnt really have to be that way. The works in the show are certainly dreamlike, but they are also quite realistic, as the video for Aural Obsession, which was shown in the gallery, demonstrates.The most compelling work here is by Böttcher himself, who has been using his body to create a large-scale virtual reality. The video Eternal Return, 2000, shows Böttchers feet walking through a virtual city. As the camera pans around and around the city, the foot slips into a few different positions. In one, Böttcher is walking along a street, his body as bare as his jeans. The footage of his feet is projected on a monitor, which looks like a virtual reality. In another, Böttcher is standing in a virtual space, a sort of futuristic version of a real space, with an alien-looking figure hovering in front of a large camera. The video is interrupted by a sound of a car alarm, which is clearly Böttchers own voice, but one that is played over and over again.
. . . it is true that our social systems are deeply ambivalent, but in a positive way, as evidenced by the many projects and programs, from the public art to the urban space to the music festival, which aim at altering the relationship between the individual and society.One can only hope that the future will see the democratization of artistic expression, and the emergence of a new understanding of art. It is therefore important to keep this critical outlook in mind as we go through this year. The exhibition was curated by the Galleria Schiedammer, which has long been involved in supporting contemporary art in the city. In addition to this, it has organized numerous events and exhibitions, including the Sculpture in the Space of the City, a show of contemporary sculpture by artists and architects, as well as a cultural center, a library, and a cultural center. With this in mind, the curators should be cognizant of the fact that the modern city is no longer the domain of the individual, but is rather the social and economic system that governs it. This is also the case with the exhibition. It is important that we think about it in this context, as an invitation to do so is essential.
The exhibition was perhaps a further example of the recent spate of exhibitions that have been organized by curators in an effort to re-establish an art practice that is based on the constant questioning of the identity of the artist. In the end, the only place the viewer was likely to encounter this process of questioning was in the gallery itself, which seems to be the final resting place for the artists and their artworks. The show was a somber memorial to the artists, who are not forgotten. Yet there was also a sense of celebration in the fact that the exhibition was a fitting tribute to them. These were the artists who made it possible for us to see them again.
Social theory in the curatorial method, especially in the context of the trend towards digital platforms and interactions. (Nina Fritschs exhibition At the Edge of the World was titled Re: The Edge of the World, and the exhibition was organized by Nina Fritsch and Gudmundur Einarsson.) The inclusion of some well-known artists from the 1960s and 70s was in keeping with the exhibitions reputation. (Alfredo Amaral, Bernhard Schröder, and Martin Kippenberger were among the most promising members of the generation of artists around the age of 30 when they began exhibiting.) The curators were also mindful that this year marks the fiftieth anniversary of the beginning of the post-Wall Street era, which began with the 1968 resignation of the Berlin Wall, and that the exhibition was intended to coincide with the end of the cold war.The curators, however, were not so much concerned with the end of the Cold War as with the possibility of a return of the ugly. After all, Berlin is home to many artists whose work has been seen in New York since the early 90s—including the likes of Annelie Graw—and it is a city steeped in the memory of both the left and the right. The exhibitions title, Re: the Edge of the World, is taken from the line of a famous lyric from the Beatles song Blue Jay Way—a line that also appears in the song The Breakup. But the lyrics are sung by a female voice, and the lyrics are turned upside down, with the lyrics now reading as, as the artist explains in an interview with art critic Julian Hoeber: The lyrics of the song are now blue/The lyrics of the song are now broken/The lyrics of the song are still broken. But the lyrics are broken. And theres nothing blue about it. Theyre broken.The curators also invoked the classic figure of the artist-in-progress, as the leader of the group.
Social theory in the curatorial method, especially in the context of the trend towards digital platforms and interactions. The exhibition drew attention to the fact that digital images can be studied in many ways: as a corpus of images, objects, or forms; as an archive, a microsite, or a social network; as a string of links to the future; as a heterogeneous collection of images, objects, or traces of human activity; as a collection of knowledge; as a social network, a network of objects, or an architecture of objects. The show opened with a series of eight digital photographs, which were arranged in a gridlike pattern. The images depict the artists themselves, the artists studios, the artists platforms, the sites they visited, and other sites where they participated. The images are shown without the subjects, but with the captions, which are written in ink on a piece of paper, and, as the exhibition title, Not My Fault, pointed out, can be read in the first person. The images, printed with a posterlike grid, are accompanied by captions that point to their subjects and their activities. The captions are written with a pen and ink on the wall, and consist of the words or phrases that the subject or activity has used to write down the actions and activities of the subject. The captions are a reflection on the act of collecting, of putting together, of selecting and categorizing images, things, and objects. They are a reflection on the act of categorization and the way in which people organize and organize themselves, and the way in which the organization of objects and the organization of things are organized. They are a reflection on the act of collection, of putting together, of selecting and categorizing images, things, and objects. The photographs in the series are a reflection on the act of gathering, of combining, of putting together.